How did cells make the journey, one we take so much for granted, from their origin in living bodies to something that can be grown and manipulated on artificial media in the laboratory, a substantial biomass living outside a human body, plant, or animal? This is the question at the heart of Hannah Landecker's book. She shows how cell culture changed the way we think about such central questions of the human condition as individuality, hybridity, and even immortality and asks what it means that we can remove cells from the spatial and temporal constraints of the body and "harness them to human intention." Rather than focus on single discrete biotechnologies and their stories--embryonic stem cells, transgenic animals--Landecker documents and explores the wider genre of technique behind artificial forms of cellular life. She traces the lab culture common to all those stories, asking where it came from and what it means to our understanding of life, technology, and the increasingly blurry boundary between them. The technical culture of cells has transformed the meaning of the term "biological," as life becomes disembodied, distributed widely in space and time. Once we have a more specific grasp on how altering biology changes what it is to be biological, Landecker argues, we may be more prepared to answer the social questions that biotechnology is raising.

What is life? What is water? What is sound? In Sounding the Limits of Life, anthropologist Stefan Helmreich investigates how contemporary scientists—biologists, oceanographers, and audio engineers—are redefining these crucial concepts. Life, water, and sound are phenomena at once empirical and abstract, material and formal, scientific and social. In the age of synthetic biology, rising sea levels, and new technologies of listening, these phenomena stretch toward their conceptual snapping points, breaching the boundaries between the natural, cultural, and virtual. Through examinations of the computational life sciences, marine biology, astrobiology, acoustics, and more, Helmreich follows scientists to the limits of these categories. Along the way, he offers critical accounts of such other-than-human entities as digital life forms, microbes, coral reefs, whales, seawater, extraterrestrials, tsunamis, seashells, and bionic cochlea. He develops a new notion of "sounding"—as investigating, fathoming, listening—to describe the form of inquiry appropriate for tracking meanings and practices of the biological, aquatic, and sonic in a time of global change and climate crisis. Sounding the Limits of Life shows that life, water, and sound no longer mean what they once did, and that what count as their essential natures are under dynamic revision.

In Forms of Life, Andreas Gailus argues that the neglect of aesthetics in most contemporary theories of biopolitics has resulted in an overly restricted conception of life. He insists we need a more flexible notion of life: one attuned to the interplay and conflict between its many dimensions and forms. Forms of Life develops such a notion through the meticulous study of works by Kant, Goethe, Kleist, Nietzsche, Wittgenstein, Benn, Musil, and others. Gailus shows that the modern conception of "life" as a generative, organizing force internal to living beings emerged in the last decades of the eighteenth century in biological thought. At the core of this vitalist strand of thought, Gailus maintains, lies a persistent emphasis on the dynamics of formation and deformation, and thus on an intrinsically aesthetic dimension of life. Forms of Life brings this older discourse into critical conversation with contemporary discussions of biopolitics and vitalism, while also developing a rich conception of life that highlights, rather than suppresses, its protean character. Gailus demonstrates that life unfolds in the open-ended interweaving of the myriad forms and modalities of biological, ethical, political, psychical, aesthetic, and biographical systems.

We all have a responsibility to care for culture. Artist Makoto Fujimura issues a call to cultural stewardship, in which we feed our culture's soul with beauty, creativity, and generosity. This is a book for artists and all "creative catalysts" who understand how much the culture we all share affects human thriving today and shapes the generations to come.

"Explains brilliantly the structures and processes of middle-class culture in historical perspective."--Robert Nye, Rutgers University " This] illuminating study of the Swedish middle class around the turn of the century . . . is one welcome sign that bourgeois, too, are once again recognized as parts of society worth studying . . . to be understood rather than to be savaged. Culture Builders is a welcome sign of yet another development: the ease with which historical studies may be integrated with neighboring disciplines."--Journal of Modern History "The authors take an impressively broad intellectual perspective. . . . The everyday routines of bourgeoisie, peasantry, and working class are dramatically portrayed through a skillful weaving together of excerpts from ethnological archives, schoolbooks, memoirs, novels, and etiquette manuals . . . provides insight into the sociocultural complexities, conflicts, and contradictions that are ignored in widely held national stereotypes."--American Anthropologist "Unites historical and ethnological approaches so as to present a way of life that will be of interest not only to scholars of Scandinavia but to historians, sociologists, and everyone trying to describe and interpret the bourgeois Western culture during the nineteenth century."--Ethnos Jonas Frykman and Orvar Lofgren teach in the Department of European Ethnology at the University of Lund, Sweden.

This book examines the iconic presence of second chances in everyday life. David Newman explores its various iterations in popular culture, commercial marketplaces, religion, intimate relationships, education, criminal justice, and human bodies. He analyzes how this concept—as a cultural aspiration, driver of policy, and lived personal experience—has become part and parcel of our individual sense of self and our collective national identity. While the rhetoric of redemption is familiar and ubiquitous, Newman uncovers the costs and constraints of second chances, paying particular attention to the factors that affect judgments of deservedness. Informed by an array of data sources including personal interviews, mission statements of nonprofit recovery agencies, images in popular culture, stories from the news, plot summaries of novels, and scriptural texts, Newman frames the second chance experience as the quintessential cultural paradox: a concept that simultaneously represents the pinnacle of our shared hopes for renewal and our deepest suspicions about the intransigence of human nature.

Originally published: London: Thames & Hudson Ltd., 2006.